WPS - Music Curriculum by Waterford Public Schools

WATERFORD PUBLIC SCHOOLS

2019 REVISION

MUSIC CURRICULUM 1

INTRODUCTION BOARD OF EDUCATION MEMBERS CURRICULUM GUIDE AUTHORS

7 7 7

MUSIC CURRICULUM OVERVIEW STATEMENT OF PHILOSOPHY PROGRAM GOALS RELATED GOALS & STANDARDS PROCESS COMPONENTS VISION of the GRADUATE CURRICULUM MAPS EXTRA-CURRICULAR & ENRICHMENT OFFERINGS ANNUAL CURRICULAR FOCUS THEME CURRICULAR THEME IDEAS

8 8 9 10 10 11 12 12 14 14

ELEMENTARY GENERAL MUSIC OVERVIEW NATIONAL CORE STANDARDS PRE-KINDERGARTEN GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PRE-K PERFORMANCE ASSESSMENTS KINDERGARTEN GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE KINDERGARTEN PERFORMANCE ASSESSMENTS GRADE 1 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE GRADE 1 PERFORMANCE ASSESSMENTS GRADE 2 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE GRADE 2 PERFORMANCE ASSESSMENTS GRADE 3 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES

15 15 15 30 32 33 33 33 34 34 35 35 36 37 38 38 39 39 40 40 42 42 43 43 44 45 46 46 2

EVIDENCE OF LEARNING RESOURCES PACING GUIDE GRADE 3 PERFORMANCE ASSESSMENTS GRADE 4 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE GRADE 4 PERFORMANCE ASSESSMENTS GRADE 5 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE GRADE 5 PERFORMANCE ASSESSMENTS ELEMENTARY RESOURCES ESSENTIAL SONGS ESSENTIAL LISTENING

47 47 47 49 50 50 51 51 51 52 54 54 55 55 55 57 58 58 59

MIDDLE SCHOOL GENERAL MUSIC OVERVIEW NATIONAL CORE STANDARDS GENERAL MUSIC GRADE 6 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES PACING GUIDE EVIDENCE OF LEARNING RESOURCES UKULELE GRADES 7-8 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE

60 60 60 64 65 65 66 66 66 67 67 67 68 68 69

HIGH SCHOOL GENERAL MUSIC OVERVIEW HIGH SCHOOL MUSIC THEORY DESCRIPTION NATIONAL CORE STANDARDS EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING

70 70 70 70 70 74 75 3

RESOURCES PACING GUIDE MUSIC THEORY ASSESSMENT HIGH SCHOOL JAZZ IMPROVISATION DESCRIPTION NATIONAL CORE STANDARDS EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE JAZZ IMPROVISATION ASSESSMENT HIGH SCHOOL MUSIC APPRECIATION DESCRIPTION NATIONAL CORE STANDARDS EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE MUSIC APPRECIATION ASSESSMENT PERSUASIVE ESSAY RUBRIC GRADES 3-12 ENSEMBLES OVERVIEW PROGRAM GOALS ENSEMBLE ESSENTIAL QUESTIONS NATIONAL CORE STANDARDS BAND GRADES 4-5 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE JAZZ BAND GRADE 5 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE BAND GRADES 6-8 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES

75 75 76 77 77 77 82 83 83 84 85 86 86 86 89 90 90 90 91 92 93 93 93 94 95 103 103 103 104 104 105 108 108 108 109 109 110 112 112 112 113 113 4

PACING GUIDE JAZZ BAND GRADES 6-8 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE BAND GRADES 9-12 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE ORCHESTRA GRADES 3-5 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE ORCHESTRA GRADES 6-8 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE ORCHESTRA GRADES 9-12 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE CHORUS GRADES 4-5 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE CHORUS GRADES 6-8 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES

114 116 117 117 118 118 118 121 121 121 122 123 123 128 128 128 129 129 130 132 132 132 133 133 134 136 136 136 137 138 139 142 142 142 143 143 144 145 145 145 146 146 5

PACING GUIDE CHOIR GRADES 9-12 DESCRIPTION GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES EVIDENCE OF LEARNING RESOURCES PACING GUIDE ENSEMBLE CORE KNOWLEDGE MATRIX ENSEMBLE PERFORMANCE ASSESSMENTS

147 150 151 151 153 153 154 158 177

INTRODUCTION BOARD OF EDUCATION MEMBERS Gregory A. Benoit Chairperson

Joy Gaughan Christopher Jones

Marcia Benvenuti Secretary

Deb Roselli Kelly

Miriam Furey-Wagner

Craig Merriman

Amanda Gates-Lamothe

Jody Nazarchyk

CURRICULUM GUIDE AUTHORS Barbara Comstock-King

Clark Lane Middle School

Timothy Fioravanti

Waterford High School & Music Curriculum Chair

Lynn Masciarelli

Clark Lane Middle School & Waterford High School

William McCleary

All Elementary Schools

Celeste Milukas

Great Neck Elementary School

Valerie Muckle

Quaker Hill Elementary School

Megan Nelson

All Elementary Schools

Aaron Robarge

Clark Lane Middle School

Wayne Schaedler

Oswegatchie Elementary School

MUSIC CURRICULUM OVERVIEW

STATEMENT OF PHILOSOPHY Music is an art form based on creating, performing, and responding where one’s enjoyment increases exponentially with one’s understanding. Music offers unique learning opportunities to explore individual creativity, artistic expression and a more in-depth understanding of past and present cultures in our diverse world community. A comprehensive music education will enable students to make more informed aesthetic choices, develop their musical abilities through self-discipline and focus and will provide a vehicle to increase their confidence in learning across the entire curriculum. We believe that all students should have a comprehensive, balanced, sequential curriculum of inschool instruction in music education in accordance with national, state and local standards, and that an education in music and the arts will develop the life-long learning abilities and aesthetic skills necessary to improve the quality of life in a more cultured, educated society.

PROGRAM GOALS As a result of Waterford’s Music Program, students in grades K-12 will: 1.

Create: (imagine, experiment, plan, make, evaluate, refine, and present/exhibit) music that express concepts, ideas and feelings.

Perform: (select, analyze, interpret, practice, evaluate, refine and perform/present) diverse works of music.

Respond: (select, experience, describe, analyze, interpret and evaluate) with understanding of diverse music genres.

Connection: Understand the connections among the arts, other disciplines and daily life.

Understand and use the concepts, techniques, forms (structures, styles, genres), language, notation (written symbol system) and literature/repertoire of each music form.

Understand the importance of the arts in expressing and illuminating human experiences, beliefs and values.

Identify representative works and recognize the characteristics of music from different historical periods and world cultures.

Develop sufficient mastery to continue lifelong involvement in the arts as viewers, consumers, and creators.

Develop sufficient mastery to be able to pursue further study, if they choose, in preparation for a career.

10.

Seek music experiences and participate in the artistic life of the school and community.

RELATED GOALS & STANDARDS Connections with Common Core Standards in English/Language Arts and Mathematics, high order thinking, and 21st Century Skills and are embedded throughout the music performance standards, as they play an essential role in carrying out the three artistic processes of Creating, Performing, and Responding. Some of those connections would be: ● Key Common Core verbs such as compare, contrast, analyze, interpret, create, and the Tier 3 content specific, music vocabulary that is essential to demonstrating an understanding of music. ● Explicit references to social, cultural, and historical context and conveying ideas and meaning using complex text. Music literacy is considered is considered complex text by Common Core definition. ● Opportunities for students to demonstrate 21st century skills such as collaboration, critical thinking, analyzing, evaluating, explaining, and being involved in the creative process through the study of music. The creative practices of investigation and reflection are connected to all ten of the Anchor Standards for Reading, and all four skills--imagination, investigation, construction, and reflection, were strongly represented in the Anchor Standards for Writing. Additionally, all four creative practices were found to be aligned with each of the Standards for Mathematical Practice.

PROCESS COMPONENTS In order to have a meaningful learning experience in music, students must be consistently and actively engaged in the following learning behaviors: ● Creating ● Performing ● Responding ● Decoding ● Selecting ● Composing ● Improvising ● Analyzing ● Evaluating ● Interpreting ● Exploring ● Expressing ● Comparing ● Imagining ● Reflecting ● Singing ● Listening ● Notating ● Memorizing ● Identifying ● Modeling ● Imitating ● Writing ● Reading ● Describing ● Choosing ● Working independently and collaboratively 10

VISION of the GRADUATE ACADEMIC A1. Communicate effectively for a variety of purposes and audiences. A2. Acquire, understand, evaluate, synthesize and apply information. A3. Use critical and creative thinking to find and solve authentic problems. A4. Construct and defend arguments based on evidence. A5. Demonstrate digital fluency and purposeful application of tools for learning. SOCIAL S1. Demonstrate behavior that adheres to established standards of conduct and reflects integrity and fairness. S2. Recognize, respect, and value individual, cultural, and racial diversity. S3. Engage productively in self-directed independent and collaborative endeavors. CIVIC C1. Participate in activities that foster citizenship, the democratic process, and community awareness. C2. Share in the responsibility for the mental and physical safety of themselves and others.

CURRICULUM MAPS COURSE OFFERINGS Pre-K K

Music Theory General

Ukulele

General Music

Jazz Improvisation Music Appreciation Concert Band

Band Band

Percussion Ensemble Jazz Band

Choral

Jazz Band Chorus

Chorus

Chamber Choir String Orchestra

Orchestra Strings

Chamber Orchestra

Encore Orchestra Ensemble

EXTRA-CURRICULAR & ENRICHMENT OFFERINGS 6

Waterford Community Band Band

Eastern Region Middle School Music Festival

Eastern Region High School Music Festival Connecticut All-State Music Festival NAfME National Honor Ensemble

Eastern Region Middle School Music Festival Chorus

Eastern Region Middle School Music Festival Connecticut All-State Music Festival NAfME National Honor Ensemble

Eastern Region Middle School Music Festival Strings

Eastern Connecticut Youth Symphony Eastern Region High School Music Festival NAfME National Honor Ensemble

Introduction and Use of Music-Specific Equipment PreK

Instructional Material/Technology (Piano, SmartBoard, Stereo, etc.) Orff Mallet Instruments Recorder Guitar

General

Computer Keyboard Ukulele Flute Clarinet Alto Sax Trumpet Trombone Baritone Snare Drum Mallet Percussion Oboe

Band

Bassoon Bass Clarinet Tenor Sax Bari Sax French Horn Tuba Auxiliary Percussion Jazz Rhythm Instruments (Drumset, Bass, Guitar, Piano)

Choral

Instructional Material/Technology (Piano, SmartBoard, Stereo, etc.) Violin Viola

Orchestra

Cello Bass

ANNUAL CURRICULAR FOCUS THEME Each year, the Waterford Music Department in grades K-12, devotes Professional Development time and resources to learning more about a specified historical period, composer, artistic work or aspect of music history in order to promote a more focused, in-depth study of a relevant topic for the entire Waterford teaching and learning community. Our ultimate goal is that all of the students in the Waterford Public Schools (PK-12) will engage in meaningful musical activities that lead toward a deeper understanding of our culture and history. Collaborations with the organizations outside of the school district also provide additional opportunities for live musical performances and cultural enrichment programs in the schools to support this curricular focus theme. This annual project offers opportunities that encourage interdisciplinary connections, create meaningful, life-long learning experiences and provide a platform for real-world connections for our students and teachers.

CURRICULAR THEME IDEAS Music of the Silver Screen (2018-19) American Jazz Composer(s) The Music of Latin America Music in the Media Patriotic Music The Music of George Gershwin Music from East Asia The History of Rock Bach to the Future American Folk Music The Broadway Musical Voices of Freedom: The American Spiritual Mozart and Friends: Music of the Classical Period The Music of Russia! American Composers

ELEMENTARY GENERAL MUSIC OVERVIEW This curriculum will provide students with the opportunities to: · Perform music alone and with others. · Use the vocabulary and notation of music. · Respond to music aesthetically, intellectually and emotionally. · Understand and appreciate other values and cultures through creative collaboration. · Develop creativity and self-expression through the exploration of music. · Use technology to deepen their understanding. The Waterford Public Schools’ K-5 General Music Curriculum is based on the National and Connecticut Core Arts (Music) Standards. Experience in each of the areas is vital to students’ musical development. Students will create, perform, and respond using various genres. This curriculum incorporates teaching strategies of Gordon Music Learning Theory and Kodaly Method, as well as the techniques of Dr. John Feierabend, a national leader in music education. Special focus areas for each grade will be the following:

Pre-K - I Can Experience Music ● Expression and awareness through musical play ● Respond to music through movement ● Echo songs and rhymes ● Establish Music class routines ● Sing and play cooperatively in a group Kindergarten – I Can Sing ● Expressive and creative use of voice ● Sing alone and in a group ● Respond kinesthetically to music ● Listening skills

Grade 3 – I Can Read Music Notation ● Musical terminology, i.e., repeat sign, bar line, double bar line, names of the treble clef notes. ● Sing in canon ● Count rhythms in numbers ● Appropriately critique classmates’ performances ● Dance Etiquette ● Introduction to instrument Families ● Introduction to recorder

Grade 1 – I Can Sing and Keep the Beat ● Move to the beat ● Respond to changes in melodic direction ● Introduction to mallet instruments ● Track the speaker ● Read simple rhythms in syllables

Grade 4 – I Can Play Recorder ● Recorder skills: B, A, G, E, D, hand position, articulation ● Count rhythms in more complex patterns ● Critical listening/questioning

Grade 2 – I Can Play Mallet Instruments ● Read and perform rhythmic notation ● Play simple songs on mallet instruments ● Track classmates as they speak ● Collaborate with peers to create dance

Grade 5 – I Can Listen and Evaluate ● Continued recorder skills (C’,D’,F#, C#) ● Play a major scale ● Create a short composition ● Critique, analyze, evaluate musical performances

NATIONAL CORE STANDARDS CREATING

ANCHOR STANDARD 1: GENERATE AND CONCEPTUALIZE ARTISTIC IDEAS AND WORK. Imagine Generate musical ideas for various purposes and contexts.

Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources. Essential Question: How do musicians generate creative ideas? Pre-K Cr1.1.PKa

Kindergarten

Grade 1 Cr1.1.1a

Grade 2 Cr1.1.2a

Grade 3 Cr1.1.3a

Grade 4 Cr1.1.4a

Grade 5 Cr1.1.5a

With substantial guidance, explore and experience a variety of music.

With guidance, explore and experience music concepts (such as beat and melodic contour).

With limited guidance, create musical ideas (such as answering a musical question) for a specific purpose.

Improvise rhythmic and melodic patterns and musical ideas for a specific purpose.

Improvise rhythmic and melodic ideas, and describe connection to specific purpose and context (such as personal and social).

Improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social and cultural).

Improvise rhythmic, melodic, and harmonic ideas, and explain connection to specific purpose and context (such as social, cultural, and historical).

Cr1.1.Kb

Cr1.1.1b

Cr1.1.2b

Cr1.1.3b

Cr1.1.4b

Cr1.1.5b

With guidance, generate musical ideas (such as movements or motives).

With limited guidance, generate musical ideas in multiple tonalities (such as major and minor) and meters (such as duple and triple).

Generate musical patterns and ideas within the context of a given tonality (such as major and minor) and meter (such as duple and triple).

Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter.

Generate musical ideas (such as rhythms, melodies, and simple accompaniment patterns) within related tonalities (such as major and Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas. minor) and meters.

Generate musical ideas (such as rhythms, melodies, and accompaniment patterns) within specific related tonalities, meters, and simple chord changes.

Cr1.1.Ka

ANCHOR STANDARD 2: ORGANIZE AND DEVELOP ARTISTIC IDEAS AND WORK. Plan and Make Select and develop musical ideas for defined purposes and contexts

Enduring Understanding: Musicians’ creative choices are influenced by their expertise, context, and expressive intent. Essential Question(s): How do musicians make creative decisions?

Pre-K Cr2.1.PKa

Kindergarte n Cr2.1.Ka

Grade 1 Cr2.1.1a

Grade 2 Cr2.1.2a

Grade 3 Cr2.1.3a

Grade 4 Cr2.1.4a

Grade 5 Cr2.1.5a

With substantial guidance, explore favorite musical ideas (such as movements, vocalizations, or instrumental accompanime nts).

With guidance, demonstrate and choose favorite musical ideas.

With limited guidance, demonstrate and discuss personal reasons for selecting musical ideas that represent expressive intent.

Demonstrate and explain personal reasons for selecting patterns and ideas for music that represent expressive intent.

Demonstrate selected musical ideas for a simple improvisatio n or composition to express intent, and describe connection to a specific purpose and context.

Demonstrate selected and organized musical ideas for an improvisatio n, arrangement, or composition to express intent, and explain connection to purpose and context

Demonstrate selected and developed musical ideas for improvisatio ns, arrangements , or compositions to express intent, and explain connection to purpose and context.

Cr2.1.PKb

Cr2.1.Kb

Cr2.1.1b

Cr2.1.2b

Cr2.1.3b

Cr2.1.4b

Cr2.1.5b

With substantial guidance, select and keep track of the order for performing original musical ideas, using iconic notation and/or recording technology.

With guidance, organize personal musical ideas using iconic notation and/or recording technology.

With limited guidance, use iconic or standard notation and/or recording technology to document and organize personal musical ideas.

Use iconic or standard notation and/or recording technology to combine, sequence, and document personal musical ideas.

Use standard and/or iconic notation and/or recording technology to document personal rhythmic and melodic musical ideas.

Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and simple harmonic musical ideas.

Use standard and/or iconic notation and/or recording technology to document personal rhythmic, melodic, and two-chord harmonic musical ideas.

ANCHOR STANDARD 3: REFINE AND COMPLETE ARTISTIC WORK. Evaluate and Refine Evaluate and refine selected musical ideas to create musical work(s) that meet appropriate criteria.

Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. Essential Question(s): How do musicians improve the quality of their creative work?

Pre-K Cr3.1.PKa With substantial guidance, consider personal, peer, and teacher feedback when demonstratin g and refining personal musical ideas

Kindergarte n Cr3.1.Ka With guidance, apply personal, peer, and teacher feedback in refining personal musical ideas.

Grade 1 Cr3.1.1a

Grade 2 Cr3.1.2a

Grade 3 Cr3.1.3a

Grade 4 Cr3.1.4a

Grade 5 Cr3.1.5a

With limited guidance, discuss and apply personal, peer, and teacher feedback to refine personal musical ideas

Interpret and apply personal, peer, and teacher feedback to revise personal music.

Evaluate, refine, and document revisions to personal musical ideas, applying teacherprovided and collaboratively developed criteria and feedback.

Evaluate, refine, and document revisions to personal music, applying teacher provided and collaboratively developed criteria and feedback to show improvement over time.

Evaluate, refine, and document revisions to personal music, applying teacher provided and collaborativel y developed criteria and feedback, and explain rationale for changes.

Present

Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication. Essential Question(s): When is creative work ready to share? Pre-K Cr3.2.PK a

Kindergart en Cr3.2.Ka

With substantia l guidance, share revised personal musical ideas with peers.

With guidance, demonstrat e a final version of personal musical ideas to peers.

Grade 1 Cr3.2.1a With limited guidance, convey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or informal audience.

Grade 2 Cr3.2.2a

Grade 3 Cr3.2.3a

Grade 4 Cr3.2.4a

Grade 5 Cr3.2.5a

Convey expressive intent for a specific purpose by presenting a final version of personal musical ideas to peers or info

Present the final version of personal created music to others, and describe connection to expressive intent.

Present the final version of personal created music to others, and explain connection to expressive intent.

Present the final version of personal created music to others that demonstrates craftsmanship, and explain connection to expressive intent.

PERFORMING

ANCHOR STANDARD 4: SELECT, ANALYZE, AND INTERPRET ARTISTIC WORK FOR PRESENTATION. Select Select varied musical works to present based on interest, knowledge, technical skill, and context. Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the selection of repertoire Essential Question(s): How do performers select repertoire? Pre-K Pr4.1.PKa With substantial guidance, demonstrate and state preference for varied musical selections.

Kindergarten Pr4.1.Ka With guidance, demonstrate and state personal interest in varied musical selections.

Grade 1 Pr4.1.1a

Grade 2 Pr4.1.2a

Grade 3 Pr4.1.3a

Grade 4 Pr4.1.4a

Grade 5 Pr4.1.5a

With limited guidance, demonstrat e and discuss personal interest in, knowledge about, and purpose of varied musical selections.

Demonstrate and explain personal interest in, knowledge about, and purpose of varied musical selections.

Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, purpose, and context.

Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, context, and technical skill.

Demonstrate and explain how the selection of music to perform is influenced by personal interest, knowledge, and context, as well as their personal and others’ technical skill.

Analyze

Analyze the structure and context of varied musical works and their implications for performance. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance. Essential Question(s): How does understanding the structure and context of musical works inform performance? Pre-K Pr4.2.PKa

Kindergarten Pr4.2.Ka

Grade 1 Pr4.2.1a

Grade 2 Pr4.2.2a

Grade 3 Pr4.2.3a

Grade 4 Pr4.2.4a

Grade 5 Pr4.2.5a

With substantial guidance, explore and demonstrate awareness of musical contrasts

With guidance, explore and demonstrate awareness of music contrasts (such as high/low, loud/soft, same/different ) in a variety of music selected for performance.

With limited guidance, demonstrate knowledge of music concepts (such as beat and melodic contour) in music from a variety of cultures selected for performance.

Demonstrate knowledge of music concepts (such as tonality and meter) in music from a variety of cultures selected for performance.

Demonstrate understandin g of the structure in music selected for performance.

Demonstrate understandin g of the structure and the elements of music (such as rhythm, pitch, and form) in music selected for performance.

Demonstrate understanding of the structure and the elements of music (such as rhythm, pitch, form, and harmony) in music selected for performance.

Pr4.2.1b

Pr4.2.2b

Pr4.2.3b

Pr4.2.4b

Pr4.2.5b

When analyzing selected music, read and perform rhythmic patterns using iconic or standard notation.

When analyzing selected music, read and perform rhythmic and melodic patterns using iconic or standard notation.

When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation.

When analyzing selected music, read and perform using iconic and/or standard notation

When analyzing selected music, read and perform using standard notation.

Pr4.2.3c

Pr4.2.4c

Pr4.2.5c

Describe how context (such as personal and social) can inform a performance.

Explain how context (such as social and cultural) informs a performance.

Explain how context (such as social, cultural, and historical) informs performances.

Interpret

Develop personal interpretations that consider creators’ intent. Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent. Essential Question(s): How do performers interpret musical works? Pre-K Pr4.3.PK a

Kindergarte n Pr4.3.Ka

With With substantial guidance, guidance, demonstrate explore awareness of music’s expressive expressive qualities (such qualities as voice (such as quality, voice dynamics, and quality, tempo) that dynamics, support the and creators’ tempo). expressive intent.

Grade 1 Pr4.3.1a

Grade 2 Pr4.3.2a

Grade 3 Pr4.3.3a

Grade 4 Pr4.3.4a

Grade 5 Pr4.3.5a

Demonstrat e and describe music’s expressive qualities (such as dynamics and tempo)

Demonstrate understandin g of expressive qualities (such as dynamics and tempo) and how creators use them to convey expressive intent.

Demonstrat e and describe how intent is conveyed through expressive qualities (such as dynamics and tempo).

Demonstrat e and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, and timbre).

Demonstrate and explain how intent is conveyed through interpretive decisions and expressive qualities (such as dynamics, tempo, timbre, and articulation/style) .

ANCHOR STANDARD 5: DEVELOP AND REFINE ARTISTIC TECHNIQUES AND WORK FOR PRESENTATION. Rehearse, Evaluate and Refine Evaluate and refine personal and ensemble performances, individually or in collaboration with others.

Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and the application of appropriate criteria. Essential Question(s): How do musicians improve the quality of their performance? Pre-K Pr5.1.PKa

Kindergarte n Pr5.1.Ka

Grade 1 Pr5.1.1a

Grade 2 Pr5.1.2a

Grade 3 Pr5.1.3a

Grade 4 Pr5.1.4a

Grade 5 Pr5.1.5a

With substantial guidance, practice and demonstrate what they like about their own performance s.

With guidance, apply personal, teacher, and peer feedback to refine performance s.

With limited guidance, apply personal, teacher, and peer feedback to refine performance s.

Apply established criteria to judge the accuracy, expressivenes s, and effectiveness of performance s.

Apply teacher provided and collaborativel y developed criteria and feedback to evaluate accuracy of ensemble performance s.

Apply teacherprovided and collaborativel y developed criteria and feedback to evaluate accuracy and expressivenes s of ensemble and personal performance s.

Apply teacherprovided and established criteria and feedback to evaluate the accuracy and expressivenes s of ensemble and personal performance s

Pr5.1.PKb

Pr5.1.Kb

Pr5.1.1b

Pr5.1.2b

Pr5.1.3b

Pr5.1.4b

Pr5.1.5b

With substantial guidance, apply personal, peer, and teacher feedback to refine performance s

With guidance, use suggested strategies in rehearsal to improve the expressive qualities of music.

With limited guidance, use suggested strategies in rehearsal to address interpretive challenges of music.

Rehearse, identify and apply strategies to address interpretive, performance, and technical challenges of music.

Rehearse to refine technical accuracy, expressive qualities, and identified performance challenges.

Rehearse to refine technical accuracy and expressive qualities, and address performance challenges.

Rehearse to refine technical accuracy and expressive qualities to address challenges, and show improvement over time.

ANCHOR STANDARD 6: CONVEY MEANING THROUGH THE PRESENTATION OF ARTISTIC WORK. Present

Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context Enduring Understanding: Musicians judge performance based on criteria that vary across time, place and cultures. The context and how a work is presented influence the audience response. Essential Question(s): When is a performance judged ready to present? How do context and the manner in which musical work is presented influence audience response?

Pre-K Pr6.1PKa With substantial guidance, perform music with expression.

Kindergarte n Pr6.1.Ka

Grade 1 Pr6.1.1a

Grade 2 Pr6.1.2a

Grade 3 Pr6.1.3a

Grade 4 Pr6.1.4a

Grade 5 Pr6.1.5a

With limited guidance, perform music for a specific purpose with expression.

Perform music for a specific purpose with expression and technical accuracy

Perform music with expression and technical accuracy.

Perform music, alone or with others, with expression and technical accuracy, and appropriate interpretation .

Perform music, alone or with others, with expression, technical accuracy, and appropriate interpretation .

Pr6.1.Kb

Pr6.1.1b

Pr6.1.2b

Pr6.1.3b

Pr6.1.4b

Pr6.1.5b

Perform appropriately for the audience.

Perform appropriately for the audience and purpose.

Demonstrate performance decorum and audience etiquette appropriate for the context and venue.

Demonstrate performance decorum and audience etiquette appropriate for the context, venue, and genre.

Demonstrate performance decorum and audience etiquette appropriate for the context, venue, genre, and style.

With guidance, perform music with expression.

RESPONDING

ANCHOR STANDARD 7: PERCEIVE AND ANALYZE ARTISTIC WORK. Select Choose music appropriate for a specific purpose or context. Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes. Essential Question(s): How do individuals choose music to experience? Pre-K Re7.1PKa

Kindergarte n Re7.1.Ka

Grade 1 Re7.1.1a

Grade 2 Re7.1.2a

Grade 3 Re7.1.3a

Grade 4 Re7.1.4a

Grade 5 Re7.1.5a

With substantial guidance, state personal interests and demonstrate why they prefer some music selections over others.

With guidance, list personal interests and experiences and demonstrate why they prefer some music selections over others.

With limited guidance, identify and demonstrate how personal interests and experiences influence musical selection for specific purposes.

Explain and demonstrate how personal interests and experiences influence musical selection for specific purposes.

Demonstrate and describe how selected music connects to and is influenced by specific interests, experiences, or purposes.

Demonstrate and explain how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.

Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.

Analyze

Analyze how the structure and context of varied musical works inform the response. Enduring Understanding: Response to music is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music. Essential Question(s): How does understanding the structure and context of music inform a response? Pre-K Re7.2.PKa With substantial guidance, explore musical contrasts in music.

Kindergarte n Re7.2.Ka With guidance, demonstrate how a specific music concept (such as beat or melodic direction) is used in music.

Grade 1 Re7.2.1a

Grade 2 Re7.2.2a

Grade 3 Re7.2.3a

Grade 4 Re7.2.4a

Grade 5 Re7.2.5a

With limited guidance, demonstrate and identify how specific music concepts (such as beat or pitch) are used in various styles of music for a purpose.

Describe how specific music concepts are used to support a specific purpose in music.

Demonstrate and describe how a response to music can be informed by the structure, the use of the elements of music, and context (such as personal and social).

Demonstrate and explain how responses to music are informed by the structure, the use of the elements of music, and context (such as social and cultural).

Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context (such as social, cultural, and historical).

ANCHOR STANDARD 8: INTERPRET INTENT AND MEANING IN ARTISTIC WORK. Interpret Support interpretations of musical works that reflect creators’/performers’ expressive intent.

Enduring Understanding: Through their use of elements and structures of music, creators and performers provide clues to their expressive intent. Essential Question(s): How do we discern the musical creators’ and performers’ expressive intent? Pre-K Re8.1.PKa With substantial guidance, explore music’s expressive qualities (such as dynamics and tempo).

Kindergarte n Re8.1.Ka

Grade 1 Re8.1.1a

Grade 2 Re8.1.2a

Grade 3 Re8.1.3a

Grade 4 Re8.1.4a

Grade 5 Re8.1.5a

With guidance, demonstrate awareness of expressive qualities (such as dynamics and tempo) that reflect creators’/per form ers’ expressive intent.

With limited guidance, demonstrate and identify expressive qualities (such as dynamics and tempo) that reflect creators’/ performers’ expressive intent.

Demonstrate knowledge of music concepts and how they support creators’/ performers’ expressive intent

Demonstrate and describe how the expressive qualities (such as dynamics and tempo) are used in performers’ interpretation s to reflect expressive intent.

Demonstrate and explain how the expressive qualities (such as dynamics, tempo, and timbre) are used in performers’ and personal interpretation s to reflect expressive intent.

Demonstrate and explain how the expressive qualities (such as dynamics, tempo, timbre, and articulation) are used in performers’ and personal interpretation s to reflect expressive intent.

ANCHOR STANDARD 9: APPLY CRITERIA TO EVALUATE ARTISTIC WORK. Evaluate

Support evaluations of musical works and performances based on analysis, interpretation, and established criteria Enduring Understanding: The personal evaluation of musical work(s) and performance(s) is informed by analysis, interpretation, and established criteria. Essential Question(s): How do we judge the quality of musical work(s) and performance(s)?

Pre-K Re9.1.PKa With substantial guidance, talk about personal and expressive preferences in music.

Kindergarte n Re9.1.Ka With guidance, apply personal and expressive preferences in the evaluation of music.

Grade 1 Re9.1.1a

Grade 2 Re9.1.2a

Grade 3 Re9.1.3a

Grade 4 Re9.1.4a

Grade 5 Re9.1.5a

With limited guidance, apply personal and expressive preferences in the evaluation of music for specific purposes.

Apply personal and expressive preferences in the evaluation of music for specific purposes.

Evaluate musical works and performance s, applying established criteria, and describe appropriaten ess to the context.

Evaluate musical works and performance s, applying established criteria, and explain appropriaten ess to the context.

Evaluate musical works and performance s, applying established criteria, and explain appropriaten ess to the context, citing evidence from the elements of music.

CONNECTING

ANCHOR STANDARD 10: SYNTHESIZE AND RELATE KNOWLEDGE AND PERSONAL EXPERIENCES TO MAKE ART. Connect #10 Synthesize and relate knowledge and personal experiences to make music Enduring Understanding: Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding. Essential Question(s): How do musicians make meaningful connections to creating, performing, and responding? Pre-K Cn10.1.PKa Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding

Kindergarte n Cn10.1.Ka

Grade 1 Cn10.1.1a

Grade 2 Cn10.1.2a

Grade 3 Cn10.1.3a

Grade 4 Cn10.1.4a

Grade 5 Cn10.1.5a

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

ANCHOR STANDARD 11: RELATE ARTISTIC IDEAS AND WORKS WITH SOCIETAL, CULTURAL, AND HISTORICAL CONTEXT TO DEEPEN UNDERSTANDING. Connect #11 Relate musical ideas and works with varied context to deepen understanding

Enduring Understanding: : Understanding connections to varied contexts and daily life enhances musicians’ creating, performing, and responding Essential Question(s): How do the other arts, other disciplines, contexts, and daily life inform creating, performing, and responding to music? Pre-K Cn11.1.PKa

Kindergarte n Cn11.1.Ka

Grade 1 Cn11.1.1a

Grade 2 Cn11.1.2a

Grade 3 Cn11.1.3a

Grade 4 Cn11.1.4a

Grade 5 Cn11.1.5a

Demonstrate understandin g of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

PRE-KINDERGARTEN The Early Childhood Center Preschool Program is a blend of Special Ed Students with Peer Role Models, emphasizing an atmosphere of cooperative and creative play to instill Readiness skills. As the developmental stage of the special needs students can vary greatly and enrollment is fluid, the Music curriculum provides a combination of 3-4 year old age appropriate standards with adaptations to address needs from 6 months.

CT ELDS standards for Music: 6 – 12mo CA.12.1 Show interest in singing, moving and dancing, using their body CA.12.2 Move body (e.g., nod head, bounce, wiggle, rock) in response to qualities of music whether melody, volume, or rhythm is same or different (fast/ slow; low/high; calm/jazzy) CA.12.3 Use musical sounds to aid in communication prior to the advent of language (e.g., babbles in a singsong manner 12 – 18mo CA.18.1 Use instruments to explore rhythm and melody CA.18.2 Respond to music by joining in on one or two words in a song or moving physically upon hearing a familiar melody or rhythm (e.g., hand gestures) CA.18.3 Imitate parts of songs with words and/ or gestures 18 – 24mo.CA.24.1 React to changes in music by joining in with more extended segments of familiar music using voice, physical gestures and/or instruments CA.24.2 Initiate words to songs and song gestures (e.g., naming animals in a song or patting, nodding) CA.24.3 Repeat words to songs, song gestures and/or sounds (pitches) 24 – 36mo CA.36.1 Show response to qualities of different music with variations in physical movement (e.g., children walk, bounce, slide, rock, sway in response to qualities of rhythm) CA. 36.2 Respond with voice, body and/ or instruments to longer segments/or patterns of music CA.36.3 Repeat parts of simple songs 3 – 4yrs CA.48.1 Adapt to changes in the basic qualities of music and move in more organized ways to same/ different qualities of music CA.48.2 Imitate or spontaneously sing an entire verse of song CA.48.3 Initiate new musical activities with voices or instruments (e.g., apply words, initiate their own listening and movement experiences with some adult assistance) CA.48.4 Spontaneously sing songs and/or participate in songs with gestures 4 – 5yrs CA.60.1 Initiate new musical activities with voices/ instruments (e.g., apply new words, add instruments to familiar song) CA.60.2 Invent own music (through humming, singing, creating rhythms, etc.) CA.60.3 Play with familiar rhythms and patterns in a novel way e.g., explore, and initiate pitch (high/ low), rhythm (patterns), and dynamics (loud/soft)) CA.60.4 Create music using their voices and/or a variety of instruments and materials

GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How does structure and context inform response? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING With substantial guidance, explores and experiences a variety of music (Cr1.1.PKa)

Teacher modeling songs, Pitch Exploration

With substantial guidance, generates musical ideas (such as movements or motives). (Cr2.1.PKa)

Beat motions with recordings, Personalize songs

With guidance, demonstrate and choose favorite musical ideas. (Cr2.1.PKa)

Child initiated beat motions.

Initiate words to songs and song gestures (Cr3.2PKa)

Naming songs

With guidance, creates and improvises music using their voice and/or instruments. (Cr3.2.PKa)

Arioso singing, initiating beat

PERFORMING With guidance, explore and demonstrate awareness of music contrasts (such as high/low, loud/soft, same/different). (Pr4.2PKa)

Movement and Pitch exploration/ Feierabend

With guidance, apply personal, teacher, and peer feedback to refine classroom performances. (Pr5.1.PKb)

Call and Response songs, varied repertoire of songs

Perform appropriately for the audience and work cooperatively in a group. (Pr6.1.PKa)

Whole Body Listening, School Sing Alongs and Assemblies

RESPONDING With guidance, explore high/low voice singing. (Re7.2.PKa) With guidance, demonstrate how a specific music concept (such as beat or melodic direction) is used in music. (Re7.2.PKa) Explore basic locomotor and non-locomotor movements (including but not limited to, walk, run, hop, jump, gallop, slide, skip, bend, twist and sway), travelling forward and backward. (Re7.2.PKa)

Arioso singing, Big and Little Dog Pitch exploration/Feierabend

Move It! DVD, , Movement videos, song games

With guidance, explore and differentiate expressive qualities (such as dynamics and tempo) (Re8.1.PKa)

Movement exploration/Feierabend Story books

Respond with voice, body and/or instruments to music (Re8.1.PKa)

Recorded music, class songs

CONNECTING Initiate new musical activities with voices or instruments (Cn10.0.PKa)

Familiar songs,

Identify various uses of music in their daily lives. (Cn10.0.PKa)

Arioso stories

Recognize routines from Music and other disciplines. (Cn11.0.PKa)

Teacher collaboration

EVIDENCE OF LEARNING ● ● ●

Group and Individual Oral Response Tactile and Kinesthetic Observation Class and Whole School Performances

● ● ● ● ● ●

Feierabend - Curriculum Books, CDs and DVD’s, GamePlan - Curriculum Book and Resources Videos – YouTube, The Kiboomers, Various scenes from Musicals Equipment & Supplies – various classroom instruments, puppets, manipulatives, keyboard/piano The Amidons Music - Traditional Song, Dance & Storytelling The Creative Curriculum for Preschool - Teaching Strategies

RESOURCES

PRE-K PERFORMANCE ASSESSMENTS Pre-K students are assessed using a continuum model in which multiple opportunities for learning are presented over the course of the school year. New experiences are assimilated, and learning and growth are displayed over time. This provides for and supports peer modeling as new students join the class. Classroom and Music teacher collaborate to determine if each student “Meets” or is “Emerging” in the skills and objectives below: ● ● ● ● ● ● ●

Shows awareness and appreciation of different kinds of music Expresses thoughts, feelings and energy through music Shows increasing awareness of various components of music: melody (tune), pitch (high and low sounds, rhythm (the beat), tempo (speed), dynamics (changes in volume), and timbre (sound quality distinguishing one instrument or voice from another) Communicates feelings and ideas through dance and movement Demonstrates spatial awareness (where the body moves): location (separate or shared space); directions (up or down, forward or backward); levels (low, middle, high); and pathways (straight, curved, zigzag) Demonstrates effort awareness (how the body moves); speed (fast or slow); force (strong or light); and control (bound or free) Demonstrates relational awareness (relationships the body creates): with the physical self (body parts); with body shapes and size (big, small, straight); roles with other people (leading or following, mirroring, alternating); and in space (near or far, over or under, around or through)

KINDERGARTEN GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING With guidance, explores and experiences music concepts (such as beat and melodic contour) (Cr1.1.Ka)

Teacher modeling songs, Pitch Exploration

With guidance, generates musical ideas (such as movements or motives). (Cr1.1.Kb)

Beat motions with recordings, Personalize songs

With guidance, demonstrate and choose favorite musical ideas. (Cr2.1.Ka)

Child initiated beat motions.

With guidance, use iconic rhythmic notation. (Cr2.1.Kb)

Read iconic rhythms (ex. long, short, short, long)

With guidance, explore high/middle/low voice singing. (Cr3.1.Ka)

Arioso singing

With guidance, performs melodic patterns and steady beat for peers. (Cr3.2.Ka)

Arioso singing, initiating beat

PERFORMING With guidance, explore and demonstrate awareness of music contrasts (such as high/low, loud/soft, same/different). (Pr4.2Ka)

Movement and Pitch exploration/ Feierabend

With guidance, apply personal, teacher, and peer feedback to refine classroom performances. (Pr5.1.Ka)

Call and Response songs, varied repertoire of songs

Perform appropriately for the audience. (Pr6.1.Kb)

Whole Body Listening

RESPONDING With guidance, demonstrate how a specific music concept (such as beat Pitch exploration/Feierabend, or melodic direction) is used in music. (Re7.2.Ka) Playing classroom instruments Explore basic locomotor and non-locomotor movements (including but not limited to, walk, run, hop, jump, gallop, slide, skip, bend, twist and sway), travelling forward and backward. (Re7.2.Ka)

Move It! DVD, , Movement videos,song games

With guidance, explore and differentiate expressive qualities (such as dynamics, form and tempo) (Re8.1.Ka)

Movement exploration/Feierabend Story books

With guidance, develop ways to apply personal and expressive preferences through guided listening. (Re9.1.Ka)

Gameplan charts,Music journals, class share 34

CONNECTING Retell a personal story through song. (Cn10.1.Ka)

Arioso stories

Recognize that music has been created throughout time. (Cn11.0.Ka)

Sing Alongs, concerts

EVIDENCE OF LEARNING ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances

RESOURCES ● ● ● ● ●

PACING GUIDE X - objective introduced > - continued work 1st Trimester

2nd Trimester

3rd Trimester

Create non beat motions to songs and rhymes (Cr1.1.Kb)

Explore basic locomotor and non-locomotor movements Re7.2.Ka

Grade Level Expectations – Kindergarten

Move appropriately with group (Cr1.1.Ka) Initiate beat (Cr1.1.Kb)

Proper vocal tone production (Cr3.1.Ka)

Speak with inflection (Pr6.1.Ka)

Sing in a group (Pr6.1.Kb) Sing alone (Pr6.1.Ka)

Perform chants and songs in same/different/same form (Pr5.1.Ka)

Identify and use speaking, singing, whisper, and shouting voices (Pr5.1.Kb)

Musicians’ posture (Pr6.1.Kb)

Whole Body Listening (Pr5.1.Kb)

Acknowledge performers (Re9.1.Ka)

KINDERGARTEN PERFORMANCE ASSESSMENTS Trimester 1

Grade: K

Rhythm

Performs non-beat motions appropriate to the text (Cr1.1.Kb)

Melody

Speaks with inflection ((Pr6.1.Ka)

Audience

Demonstrates musician’s posture (Pr6.1.Kb)

Trimester 2

Grade: K

Rhythm

Moves appropriately with group in games and to recorded music (Re8.1.Ka)

Melody

Uses a singing voice in a group (Pr5.1.Ka)

Audience

Responds to Whole Body Listening w/posture and tracking skills (Pr5.1.Kb)

Trimester 3

Grade: K

Rhythm

Initiates beat for group activities (Cr1.1.Kb)

Melody

Uses a singing voice alone in arioso melodies (Cr3.1.Ka)

Audience

Appropriately acknowledges performers (Re9.1.Ka)

GRADE 1 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING With limited guidance, create musical ideas and movement or a specific purpose (Cr1.1.1a)

Arioso, Movement exploration

With limited guidance, creates rhythms using iconic or standard notation (Cr2.1.1b)

Create rhythms using manipulatives

Present final version of musical ideas to class (Cr3.1.1a)

Class performance

PERFORMING With limited guidance, share what you know and feel about a piece of music (Pr4.1.1a)

Listening lesson, Pair and Share/journaling

Echo, read and perform appropriate melodic and rhythm patterns. (Pr4.2.1a &Pr4.2.1b)

Call and Response, Echo, Rhythm charts

Demonstrate and describe the expressive qualities in a piece of music, fast and slow, loud and soft (Pr4.3.1a)

Rhythmic games, Movement Exploration, Journaling

Sing and play for peers with limited guidance, and discuss (Pr5.1.1a)

Group songs, Unpitched percussion

Perform appropriately for audience and purpose. (PR6.1.1b)

Teacher model, Whole Body Listening., All school performances and concerts

RESPONDING Identify how specific music concepts are used in a piece of music and demonstrate beat and melodic direction (Re7.2.1a) Identify expressive qualities (such as dynamics and tempo) (Re8.1.1a) Apply personal and expressive preferences in the evaluation of a piece of music (Re9.1.1a)

Teacher model, Guided listening, Curwen hand symbols Purposeful movement Interpret music through movement within specified guidelines

CONNECTING Explore ways to create different expressive elements of music (Cn10.0.1a)

Book dramatizations, individual movement responses

Perform folk music from a variety of cultures and discuss the music’s culture of origin (Cn11.0.1a)

Folk songs and dances, Teacher led

EVIDENCE OF LEARNING ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances

● ● ● ● ●

Feierabend - Curriculum Books, CDs and DVD’s, GamePlan - Curriculum Book and Resources Curwen Hand Symbols Videos – YouTube, The Kiboomers, Various scenes from Musicals Equipment & Supplies – various classroom instruments, puppets, manipulatives, keyboard/piano

RESOURCES

X - objective introduced > - continued work

PACING GUIDE

1st Trimester

2nd Trimester

3rd Trimester

Maintain a steady beat while performing rhythmic chants in different beat groups (Cr1.1.1a)

Stationary beat motions (Cr1.1.1a)

Maintain a steady beat while singing (Cr1.1.1a)

Traveling beat motions (Cr1.1.1a)

Grade Level Expectations – Grade 1

Maintain a steady beat while echoing, spelling, creating and reading quarter notes, rests and beamed eighth notes (Pr4.2.1b)

Respond in movement to fast/slow (Pr4.3.1a & Re8.1.1a)

Responds in singing voice to Call and Response songs (Pr4.2.1a)

Use a singing voice alone in arioso melodies (Cr1.1.1a)

Respond in movement to melodic direction (Re7.2.1a)

Sing simple songs in a group independent of the teacher (Pr5.1.1a)

Big things sound low, little things sound high (Re7.2.1a)

Experience solfege syllables and Curwen hand signs SLM (Re7.2.1a)

Use voice, pitched and unpitched percussion instruments to accompany stories and songs (Cn10.0.1a)

Label introduction (Re7.2.1a)

Label same/different as AB (ABA) (Re7.2.1a)

Label loud and soft (Pr4.3.1a)

Tracking the speaker (teacher) (PR6.1.1b)

Responds immediately to Whole Body Listening (PR6.1.1b)

Maintains Whole Body Listening standards (PR6.1.1b)

GRADE 1 PERFORMANCE ASSESSMENTS Trimester 1

Grade: 1

Rhythm

Initiates beat for group music activities (Cr1.1.1a)

Melody

Uses a singing voice alone in arioso (Cr1.1.1a)

Audience

Responds immediately to Whole Body Listening (PR6.1.1b)

Trimester 2

Grade: 1

Rhythm

Demonstrates ability to maintain a steady beat while performing group music activities (Cr1.1.1a)

Melody

Plays up/down on ladder bells or glockenspiel held vertically (Re7.2.1a)

Audience

Maintains Whole Body Listening standards (PR6.1.1b)

Trimester 3

Grade: 1

Rhythm

Demonstrates ability to maintain a steady beat while echoing, spelling, creating and reading quarter notes, rests and beamed eighth notes, in rhythm syllables (Pr4.2.1b)

Melody

Identifies and accurately echoes vocal SLM (Re7.2.1a)

Audience

Maintains Whole Body Listening standards (PR6.1.1b)

GRADE 2 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice and to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING Improvise short musical phrases (Cr1.1.2a & Cr1.1.2b)

Arioso melodies / Curwen hand signs

Creates rhythms and simple melodies using standard notation(Cr2.1.1b)

Written and improvised

Present final version of musical ideas to class (Cr3.2.2a)

Class performance

PERFORMING Demonstrate with assistance technical and expressive concepts through performing independent instrumental parts (Pr4.2.2a, Pr4.2.2b & Pr4.3.2a)

Teacher Model, Classroom instruments

Perform for peers and evaluate. (Pr5.1.2a & Pr5.1.2b)

Collaborative learning

Perform appropriately for audience and purpose (Pr6.1.2b)

All school performances and concerts

RESPONDING Explain how specific music concepts are used in a piece of music (Re7.1.2a)

Guided listening, class discussion

Describe how specific music concepts are used to support a specific purpose in music (Re7.2.2a)

Purposeful movement, Guided listening lessons

Respond through purposeful movement the composer’s expressive intent. (Re8.1.2a)

Folk dances, Feierabend, Movement Exploration

Use learned dance steps to create an original dance (Re9.1.2a)

Create a collaborative dance

CONNECTING Explore ways to create different expressive elements of music (Cn10.0.2a)

Book dramatizations, individual movement responses

Perform folk music from a variety of cultures and discuss the music’s culture of origin (Cn11.0.2a)

Folk songs and dances, student discussion

EVIDENCE OF LEARNING ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances

RESOURCES ● ● ● ● ●

Feierabend - Curriculum Books, CDs and DVD’s, GamePlan - Curriculum Book and Resources Curwen Hand Symbols Videos – YouTube, The Kiboomers, Various scenes from Musicals and folk dances Equipment & Supplies – various classroom instruments, puppets, manipulatives, keyboard/piano

X - objective introduced > - continued work

PACING GUIDE

Grade Level Expectations – Grade 2 Move with the group beat: ball bouncing, jumping rope, hand clapping activities (Re8.1.2a)

1st Trimester

2nd Trimester

3rd Trimester

Move with the group in folk dance activities (Re8.1.2a) Echo, spell, create and read rhythm patterns, quarter notes and rests, beamed and single eighth notes, half notes and half rests (Cr2.1.2b)

Experience barline/double bar/measure (Re7.1.2a)

Sing simple songs alone (Pr5.1.2a & Pr5.1.2b)

Solfege syllables and Curwen hand signs SLM (Re7.2.2a)

Match pitch using MRD solfege syllables and Curwen signs (Re7.2.2a)

Identify line/space notes on 5-line staff (Cr2.1.2b & Re7.1.2a)

Differentiate between step/skip on 5-line staff (Re7.1.2a)

Identify and sing MRD patterns on 5-line staff, do on 1st space (Cr2.1.2b & Re7.1.2a) Read and perform MRD patterns from staff on pitched percussion (Cr2.1.2b & Re7.1.2a) Label and perform ostinato (Pr4.2.2a)

X X

Develop mallet technique (Pr4.2.2a, Pr4.2.2b & Pr4.3.2a)

Label ABC (Pr4.2.2a)

Label forte/piano (Pr4.3.2a)

Label pitched percussion (xylophone, etc. (Pr4.2.2a)

Develop hand drum technique (Pr6.1.2b) Maintains Whole Body Listening standards (Pr6.1.2b)

GRADE 2 PERFORMANCE ASSESSMENTS Trimester 1

Grade: 2

Rhythm

Demonstrates ability to move with the group beat. (Re8.1.2a)

Melody

Identifies and accurately echoes vocal SLM (Re7.2.2a)

Audience

Maintains Whole Body Listening standards (Pr6.1.2b)

Trimester 2

Grade: 2

Rhythm

Demonstrates ability to move with the group in folk dance activities. (re9.1.2a)

Melody

Identifies and accurately echoes vocal MRD patterns from notation on a 5-line staff (Cr2.1.2b)

Audience

Maintains Whole Body Listening standards (Pr6.1.2b)

Trimester 3

Grade: 2

Rhythm

Demonstrates ability to maintain a steady beat while echoing, spelling, creating and reading quarter notes and rests, beamed and single eighth notes, half notes and half rests in rhythm syllables (Cr2.1.2b)

Melody

Reads MRD patterns from notation on a 5-line staff and performs on pitched percussion instruments (Re7.1.2a)

Audience

Maintains Whole Body Listening standards (Pr6.1.2b)

GRADE 3 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice/recorder to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING Improvise short musical phrases (Cr1.1.3a)

Kodaly

Generate musical ideas within a given tonality and rhythm (Cr1.1.3b)

Question and answer, Check ins

Creates rhythms and simple melodies using more complex standard notation and refine (Cr2.1.3b & Cr3.1.3a)

Teacher modeling, Aural response

Present final version of musical ideas to class and give feedback to peers (Cr3.2.3a)

Solo performance, peer evaluate

PERFORMING Demonstrate technical and expressive concepts through performing independent instrumental parts (Pr4.2.3a, Pr4.2.3b & Pr4.2.3c)

Recorder, classroom instruments

Experience, identify and demonstrate expressive qualities such as dynamics (Pr4.3.3a)

Teacher model, guided listening

Perform for peers using more complex forms (explore D.C. al Fine, Repeats, 1st and 2nd endings) and expressive techniques and peer evaluate. (Pr5.1.3a & Pr5.1.3b)

Teacher model, Road Map Ramble

Perform with appropriate expression and audience etiquette (Pr6.1.3a, Pr6.1.3b)

Recorder and mallet rubrics, All school performances

RESPONDING Explain how specific music concepts are used in a piece of music and connect to its purpose (Re7.1.3a)

Guided listening, class discussion

Explore different instrument families and how they inform the context of the music. (Re7.2.3a)

Active listening

Demonstrate the meter of a given piece (Re7.2.3a)

Conducting

Respond through purposeful movement the composer’s expressive intent. (Re8.1.3a)

Folk dances

Apply established criteria to evaluate folk dance etiquette and movement (Re9.1.3a)

How did I Dance rubric

CONNECTING Demonstrate, through the creation of a classroom dance, skills and purposeful intent that connect to a musical selection (Cn10.0.3a)

Collaborative movement

Reflect on the differences in music from a variety of cultures, contexts and genres (Cn11.0.3a)

Active listening and class discussion

EVIDENCE OF LEARNING ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances

RESOURCES ● ● ● ● ●

GamePlan - Curriculum Book and Resources Tim Adams - Ready Set Play Method Curwen Hand Symbols Videos – YouTube, Various scenes from Musicals and folk dances Equipment & Supplies – various classroom instruments, Recorders, manipulatives, keyboard/piano

X - objective introduced > - continued work

PACING GUIDE

1st Trimester

2nd Trimeste r

3rd Trimester

Label quarter note and rest, eighth notes, attached and detached half note and rest, whole note and rest, dotted half note (Pr4.2.3a)

Echo, spell, create and read grade level rhythms in syllables: (Cr2.1.3b)

Label staff, clef, treble clef, and treble clef note names (Pr4.2.3a)

Label S and F scale tones and hand signal (Pr4.2.3a)

Grade Level Expectations – Grade 3

Count rhythms including quarter notes, quarter rests, eighth and sixteenth notes (Pr4.2.3b) Label fast/slow as tempo (Pr4.3.3a)

Label accent, bar line, measure, time signature (Pr4.2.3a) Sing and play MRD patterns, Do on 1st space/2nd line (Cr2.1.3b)

Perform on the recorder quarter, eighth and half note rhythms on B (Pr4.2.3b)

Compose recorder pieces on B and A using quarter, eighth and half notes (Cr2.1.3b)

Develop crossover technique on mallet instruments (Pr6.1.3a)

Label canon/round (Pr4.2.3a) Move with the group in folk dance activities (Re8.1.3a)

Label interlude (Pr4.2.3a)

Label rondo (Pr4.2.3a)

Label D.C. al Fine, Coda, Repeat Sign, 1st and 2nd endings (Pr4.2.3a)

Label crescendo and decrescendo (Pr4.3.3a)

Label orchestral string family (Cn11.0.3a)

Label orchestral percussion family (Cn11.0.3a) Label fermata (Pr4.2.3a) Demonstrate rest, floor, ready and playing position with mallet instruments (Pr6.1.3b) Demonstrate rest, floor, ready and playing positions with recorders (Pr6.1.3b)

X X

Respond appropriately to classmates’ musical performances (Re9.1.3a)

X 48

GRADE 3 PERFORMANCE ASSESSMENTS Trimester 1

Grade: 3

Rhythm

Identifies quarter note/rest, beamed and separated eighths, half note/rest, whole note/rest, dotted half note by name (Pr4.2.3a)

Melody

Performs on mallet instruments MRD patterns from a 5-line staff with D on the 1st space & with D on the 2nd line (Cr2.1.3b)

Audience

Demonstrates floor, rest, ready, and playing position on mallet instruments (Pr6.1.3b)

Trimester 2

Grade: 3

Rhythm

Identifies bar lines, double bar lines, measures, and time signature (Pr4.2.3a)

Melody

Identifies staff, clef, treble clef, and treble clef note names (Pr4.2.3a)

Audience

Demonstrates floor, rest, ready, playing position for recorders. (Pr6.1.3b)

Trimester 3

Grade: 3

Rhythm

Accurately counts rhythms (1 measure) including quarter notes, quarter rests and eighth notes (Pr4.2.3b)

Melody

Reads and plays eighth and quarter notes on soprano recorder on the note B (Pr4.2.3b)

Audience

Demonstrates appropriate response to classmates’ performances. (Re9.1.3a)

GRADE 4 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice/recorder to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING Improvise musical phrases using low La (Cr1.1.4a & Cr1.1.4b)

Kodaly, Check ins

Creates rhythms and simple BAG recorder melodies using more complex standard notation and refine (Cr2.1.4b & Cr3.1.4a)

Teacher modeling, written response, Glow and Grow

Present final version of Recorder song (Cr3.2.4a)

Peer performances

PERFORMING Demonstrate concepts of harmony (Partner singing) and form through singing, dancing and playing classroom instruments (Pr4.2.4a, Pr4.2.4b & Pr4.2.4c)

Group singing, classroom instruments, dances

Experience, identify and demonstrate expressive qualities such as dynamics, tempo and timbre (Pr4.3.4a)

Guided listening, classroom games/instruments

Perform and refine solo and group songs using D.C. al Fine, Repeats, 1st and 2nd endings and melodic phrases. (Pr5.1.4a & Pr5.1.4b)

Small group rehearsal with teacher support

Perform song with technical accuracy and musical expression. Model appropriate performance expression and audience etiquette for the venue and genre(Pr6.1.4a, Pr6.1.4b)

Group and solo performances, All school performances, teacher and peer created rubrics

RESPONDING Explain how specific music concepts are used in a piece of music and connect to its purpose and context (Re7.1.4a)

Guided listening, class discussion

Differentiate between instrument families and how they inform the context of the music. (Re7.2.4a)

Active listening

Demonstrate the meter of a given piece (Re7.2.4a)

Conducting

Respond and interpret through purposeful movement the composer’s expressive intent. (Re8.1.4a)

Folk dances, movement games

Explain appropriateness of a musical piece or dance (Re9.1.4a)

Teacher created rubrics

CONNECTING Demonstrate through group singing, recorder and movement how previous knowledge and new skill level has informed performance and expressive choices. (Cn10.0.4a)

Group activities, peer and self critique

Reflect on and explain the relationship between music of different eras, instrument families, styles, cultures and genres. (Cn11.0.4a)

Active listening, group singing, class sharing and discussion

EVIDENCE OF LEARNING ● ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances Peer and Self Assessments

● ● ● ● ●

RESOURCES

X - objective introduced > - continued work

PACING GUIDE

Grade Level Expectations – Grade 4 Count rhythms including quarter notes, quarter rests, eighth and sixteenth notes (Pr4.2.4b)

1st Trimester

2nd Trimester

3rd Trimester

Label pick-up (Pr4.2.4a) Experience syncopation in songs and dances (Re7.2.4a)

Identify and sing Major Scale with solfege syllables and hand signs (Pr4.2.4a)

Perform BAG melodies on the recorder (Pr5.1.4a) (Pr5.1.4b)

Perform BAGE melodies on the recorder (Pr5.1.4a) (Pr5.1.4b)

Perform BAGED melodies on the recorder (Pr5.1.4a) (Pr5.1.4b)

Experience high C and D on recorder

Label Major/minor (Re7.1.4a)

Sing and play in canon (Pr4.2.4a)

Differentiate between instrument families (Re7.2.4a)

Label pianissimo/fortissimo (Pr4.3.3a)

Sing partner songs (Pr4.2.4a) Experience more complex forms (Re7.2.4a)

Critique teacher and/or recorded performances (Re9.1.4a) Critique classmates’ recorder performances (Re9.1.4a) Critique own performances (Re9.1.4a)

GRADE 4 PERFORMANCE ASSESSMENTS

Trimester 1

Grade: 4

Rhythm

Accurately counts rhythms (1 measure) including quarter notes, quarter rests, eighth and sixteenth notes (Pr4.2.4b)

Melody

Reads and plays BAG patterns on the soprano recorder (Pr5.1.4a) (Pr5.1.4b)

Audience

Critiques teacher and musical performances(Re9.1.4a)

Trimester 2

Grade: 4

Rhythm

Accurately counts rhythms (2 measures) including quarter notes, quarter rests, eighth and sixteenth notes (Pr4.2.4b)

Melody

Reads and plays BAGE patterns on the soprano recorder (Pr5.1.4a) (Pr5.1.4b)

Audience

Critiques classmates’ performances (Re9.1.4a)

Trimester 3

Grade: 4

Rhythm

Accurately counts grade level rhythms while incorporating C.D. al coda, 1st & 2nd endings, repeats and/or pick ups (Pr4.2.4b)

Melody

Reads and plays BAGED patterns on the soprano recorder (Pr5.1.4a) (Pr5.1.4b)

Audience

Critiques own performance (Re9.1.4a)

GRADE 5 GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my voice/recorder to create ideas? Performing – How do musicians improve the quality of our performance? Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians make meaningful connections to creating, performing, and responding? Grade Level Expectations

Instructional Strategies

CREATING Improvise musical phrases using Pentatonic scale (Cr1.1.5a & Cr1.1.5b)

Kodaly, Check ins

Creates rhythms and simple BAGED recorder melodies using more complex standard notation and refine (Cr2.1.5b & Cr3.1.5a)

Teacher modeling, recorder games, Glow and Grow

Generate musical ideas and motifs (Cr3.2.5a)

Stories/poems

PERFORMING Demonstrate concepts of harmony (I-V) and form through singing, dancing and playing classroom instruments (Pr4.2.5a, Pr4.2.5b & Pr4.2.5c)

Group singing, classroom instruments, dances

Experience, identify and demonstrate expressive qualities such as dynamics, tempo and timbre (Pr4.3.5a)

Guided listening, classroom games/instruments

Independently rehearse and refine songs addressing identified performance challenges (Pr5.1.5a & Pr5.1.5b)

Small group rehearsal

Perform song with technical accuracy and musical expression. Model appropriate performance expression and audience etiquette for the venue and genre (Pr6.1.5a, Pr6.1.5b)

Group and solo performances, All school performances, teacher and peer created rubrics

RESPONDING Explain, citing evidence, how specific music concepts are used in a piece of music and connect to its purpose and context (Re7.1.5a)

Guided listening, class discussion

Differentiate between instrument families and how they inform the context of the music. (Re7.2.5a)

Active listening

Demonstrate complex sequences of movement to interpret the composer’s expressive intent. (Re8.1.5a)

Folk dances, movement games

Evaluate a musical piece or dance using specific musical terminology (Re9.1.5a)

Teacher and peer created rubrics

CONNECTING Through composition, synthesize previous knowledge, skills and personal experience. (Cn10.0.5a)

Individual compositions

Demonstrate through performance and evaluation the relationship between music of different eras, instrument families, styles, cultures, social and historical contexts, and genres. (Cn11.0.5a)

Active listening, group singing, recorder improvisation, classcreated rubric

EVIDENCE OF LEARNING ● ● ● ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Tactile and Kinesthetic Observation Class and Whole School Performances Peer and Self Assessments Student created Composition

● ● ● ●

GamePlan - Curriculum Book and Resources Curwen Hand Symbols Videos – YouTube, Various scenes from Musicals and folk dances Equipment & Supplies – various classroom instruments, Recorders, manipulatives, keyboard/piano

RESOURCES

X - objective introduced > - continued work

PACING GUIDE

1st Trimester

2nd Trimester

3rd Trimester

Experience 6/8 meter (Re7.2.5a)

Identify syncopation (Pr4.2.5b)

Grade Level Expectations – Grade 5 Experience triplet (Re7.2.5a)

Play recorder in 6/8 time and/or with triplet (Pr4.2.5a)

Create and notate a simple phrase (Cr2.1.5b) (Cr3.1.5a)

Read and play BAGEDF# patterns on recorder (Pr4.2.5a) (Pr4.2.5b)

Read from the staff and finger on recorder: C¹, D¹ (Pr4.2.5a) (Pr4.2.5b)

Read from the staff and finger on recorder: C#² (Pr4.2.5a) (Pr4.2.5b)

Label sharp/flat (Pr4.2.5a)

Experience chord changes I-V (Pr4.2.5a)

Sing in parts (Pr4.2.5a)

Label Theme and Variations (Re7.1.5a) Label mezzo forte and mezzo piano (Re8.1.5a)

Concert etiquette for various genres (Re9.1.5a)

Use teacher-created rubric to critique own recorder performance (Re9.1.5a)

Participate in group discussions to establish class criteria for critiquing performances (Re9.1.5a) Create a composition, synthesizing cumulative knowledge, skills and personal experience. (Cn10.0.5a)

GRADE 5 PERFORMANCE ASSESSMENTS

Trimester 1

Grade: 5

Rhythm

Accurately counts rhythms while incorporating C.D. al coda, 1st & 2nd endings, repeats and/or pickups (Pr4.2.5b)

Melody

Reads and plays BAGEDF# patterns on the soprano recorder (Pr5.1.5b, Pr6.1.5a)

Audience

Uses teacher-created rubric to critique own recorder performance (Re9.1.5a)

Trimester 2

Grade: 5

Rhythm

Accurately writes grade level rhythms from aural prompt (Pr4.2.5b)

Melody

Reads from the staff and plays C1, D1 on the soprano recorder (Pr5.1.5b, Pr6.1.5a)

Audience

Participates in group discussions to establish class criteria for critiquing performances (Re9.1.5a)

Trimester 3

Grade: 5

Rhythm

Composes and performs a 4-measure rhythm utilizing grade level rhythms (Cn10.0.5a)

Melody

Demonstrates ability to play songs including C#² on the soprano recorder (Pr5.1.5b, Pr6.1.5a)

Audience

Create a composition, synthesizing cumulative knowledge, skills and personal experience. (Cn10.0.5a)

ELEMENTARY RESOURCES ● GAMEPLAN K - 5 Curriculum - Randy DeLelles and Jeff Kriske ● John Feierabend Resources: First Steps in Music Method GIA Music Publications ○ Story Song Books ○ CD’s ○ Songs, Fingerplays, Dances, Round and Canons, Pitch and Movement Explorations ○ Conversational Solfege ● Get America Singing Again - M.E.N.C. Publications ● Rhythmically Moving Book and CDs - Phyllis Weikart ● New England Dancing Masters (Instructions and CDs) - Peter and Mary Amidon ● Ready, Set, Play! Recorder Method - Tim Adams ● Audacity Audio Software - Open Source ● Sibelius Software - Avid Software ● Music for Children Volume 1: Pentatonic - Margaret Murray, Ed. ● Piano/Keyboard? ● Classroom mallet and hand percussion instruments

ESSENTIAL SONGS ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

Simple Gifts America God Bless America Grand Old Flag Star Spangled Banner Yankee Doodle Row Your Boat Peace Round London Bridge Ode to Joy This Little Light of Mine B-I-N-G-O London Bridge Farmer in the Dell Old MacDonald Lion Sleeps Tonight Four White Horses Do-Re-Mi The Garden Song The Marines Hymn Semper Paratus 58

● ● ● ● ● ● ● ● ●

Anchors Aweigh The Caissons Go Rolling Along The Wild Blue Yonder Over the River Holiday Songs (Jingle Bells, Dredyl Song, etc.) Welcome All (Round) When the Saints Go Marching In Biddy Biddy Hold On Scotland’s Burning

ESSENTIAL LISTENING ● ● ● ● ● ● ● ● ● ●

Peter and the Wolf The Nutcracker Peer Gynt Suite Sleigh Ride Stars and Stripes Forever Carnival of the Animals Eine Kleine Nachtmusik The Pink Panther Maple Leaf Rag The Entertainer

MIDDLE SCHOOL GENERAL MUSIC OVERVIEW The middle school general music program includes the 6th Grade General Music class and Ukulele Elective class. The program is designed to complement the 6-8 ensembles courses by offering a non-performance curriculum for 6th graders who do not enroll in band, chorus or orchestra, and an option for any student in grades 7 or 8 to explore music through performance in ukulele.

NATIONAL CORE STANDARDS CREATING

ANCHOR STANDARD 1: Generate and conceptualize artistic ideas and work. IMAGINE Generate musical ideas for various purposes and contexts. Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources. Essential Question(s): How do musicians generate creative ideas? 6th Grade General Music Cr1.1.6a Generate simple rhythmic, melodic, and harmonic phrases within AB and ABA forms that convey expressive intent.

ANCHOR STANDARD 2: Organize and develop artistic ideas and work. PLAN AND MAKE Select and develop musical ideas for defined purposes and contexts. Enduring Understanding: Musicians’ creative choices are influenced by their expertise, context, and expressive intent. Essential Question(s): How do musicians make creative decisions? 6th Grade General Music Cr2.1.T.Ia Select melodic, rhythmic, and harmonic ideas to develop into a larger work using digital tools and resources. Cr2.1.6a Select, organize, construct, and document personal musical ideas for arrangements and compositions within AB or ABA form that demonstrate an effective beginning, middle, and ending, and convey expressive intent. Cr2.1.6b Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic and melodic phrases. 60

ANCHOR STANDARD 3: Refine and complete artistic work. EVALUATE AND REFINE Evaluate and refine selected musical ideas to create musical work that meets appropriate criteria. Enduring Understanding: Musicians evaluate and refine their work through openness to new ideas, persistence, and the application of appropriate criteria. Essential Question(s): How do musicians improve the quality of their creative work?

6th Grade General Music Cr3.1.6a Evaluate their own work, applying teacher-provided criteria such as application of selected elements of music, and use of sound sources. Cr3.1.6b Describe the rationale for making revisions to the music based on evaluation criteria and feedback from their teacher. PRESENT Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication. Essential Question(s): When is creative work ready to share?

6th Grade General Music Cr3.2.T.Ia Share compositions or improvisations that demonstrate a proficient level of musical and technological craftsmanship as well as the use of digital tools and resources in developing and organizing musical ideas.

PERFORMING

ANCHOR STANDARD 4: Select, analyze, and interpret artistic work for presentation. Select varied musical works to present based on interest, knowledge, technical skill, and context. Enduring Understanding: Performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the context for a performance influence the selection of repertoire. Essential Question: How do performers select repertoire?

6th Grade General Music Pr4.I.T.Ia Develop and explain the criteria used for selecting a varied repertoire of music based on interest, music reading skills, and an understanding of the performer’s technical and technological skill. Pr4.1.6a Apply teacher-provided criteria for selecting music to perform for a specific purpose and/or context, and explain why each was chosen.

ANCHOR STANDARD 6: Convey meaning through the presentation of artistic work. PRESENT Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context. Enduring Understanding: Musicians judge performance based on criteria that vary across time, place, and cultures. The context and how a work is presented influence the audience response. Essential Question: When is a performance judged ready to present? How do context and the manner in which musical work is presented influence audience response?

6th Grade General Music Pr6.1.6b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue and purpose.

RESPONDING

ANCHOR STANDARD 7: Perceive and analyze artistic work SELECT Choose music appropriate for a specific purpose or context. Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes. Essential Question: How do individuals choose music to experience?

6th Grade General Music Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or experiences for a specific purpose.

Analyze how the structure and context of varied musical works inform the response. Enduring Understanding: Response to music is informed by analyzing context (social cultural, and historical) and how creators and performers manipulate the elements of music. Essential Question(s): How does understanding the structure and context of the music influence a response?

6th Grade General Music Re7.2.6b Identify the context of music from a variety of genres, cultures, and historical periods.

ANCHOR STANDARD 8: Interpret intent and meaning in artistic work. INTERPRET Support interpretations of musical works that reflect creators’/performers’ expressive intent. Enduring Understanding: Through their use of elements and structures of music, creators and performers provide clues to their expressive intent. Essential Question(s): How do we discern the musical creators’ and performers’ expressive intent?

6th Grade General Music Re8.1.6a Describe a personal interpretation of how creators’ and performers’ application of the elements of music and expressive qualities, within genres and cultural and historical context, convey expressive intent.

CONNECTING Connecting is embedded into Creating, Performing, and Responding in the musical arts.

ANCHOR STANDARD 10: Synthesize and relate knowledge and personal experiences to make art.

CONNECT #10 Synthesize and relate knowledge and personal experiences to make music. Enduring Understanding: Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding. Essential Question(s): How do musicians make meaningful connections to creating, performing, and responding?

6th Grade General Music Cn10.0.6a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

GENERAL MUSIC GRADE 6 DESCRIPTION 6th Grade General Music is a required class for any student not enrolled in an ensemble. In this course students will explore various classroom instruments including recorder, guitar, and electric keyboard. The course will also introduce various music technology programs. Throughout the course, students will share performances and compositions with each other, learning how to provide and receive constructive feedback. The course will also focus on elements of music theory through the use of instruments and computer technology.

GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How do musicians create, express, and improve? When are they ready to share? Performing – How does understand music inform performance? Responding – How does understanding the structure and context of the music influence a judgmental response? Connecting – How do musicians make meaningful connections to creating, performing, and responding? Instructional Expectations Strategies CREATING Create melodies, rhythms, and harmonies using acoustic instruments and digital tools. Cr1.1.T.Ia Using digital tools, select melodic, rhythmic, and harmonic ideas to develop into a larger piece of music using digital tools and resources. Cr2.1.T.Ia Students compose short pieces within specified guidelines using standard and/or Teacher modeling iconic notation (or video/audio recording). Cr2.1.6b Examples of Evaluate their own work, applying teacher-provided criteria such as application of student work selected elements of music, and use of sound sources. Cr3.1.6a Online guide for specific platform Describe the reason for making revisions to the music based on evaluation criteria and Composition rubric feedback from the teacher. Cr3.1.6b Share compositions or improvisations that demonstrate a proficient level of musical and technological craftsmanship as well as the use of digital tools and resources in developing and organizing musical ideas. Cr3.2.T.Ia PERFORMING MU:Pr4.2.6b When analyzing selected music, read and identify by name or function standard symbols for rhythm, pitch, articulation, and dynamics. Demonstrate appropriate audience etiquette. Pr6.1.6b MU:Pr6.1.6a Perform the music with technical accuracy to convey the creator’s intent RESPONDING MU:Re7.1.6a Select or choose music to listen to and explain the connections to specific interests or experiences for a specific purpose. Re8.1.T.Ia Explain and support an interpretation of the expressive intent of musical selections based on treatment of the elements of music, digital and electronic features, and purpose. CONNECTING Cn10.0.6a Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Teacher modeling Student modeling Audience behavior rubric (NAfME) Performance rubric

Response organizer (graphic) Class discussion

Class discussion

X - objective introduced > - continued work

PACING GUIDE

Pacing Guide – 6th Grade General Music

1st Trimester

Create an 8-bar composition using Soundation (Cr1.1.T.Ia, Cr2.1.6b)

Create a Soundation composition with harmonies and percussive elements (Cr2.1.T.Ia)

Compose a piece of music using classroom instruments within specified guidelines and notate using iconic representation (Cr2.1.6b)

2nd Trimester

Compose a piece of music using classroom instruments within specified guidelines and notate on MuseScore (Cr2.1.6b)

3rd Trimester

Students will evaluate their own projects. (Cr3.1.6a)

Revise compositions based on feedback (Cr3.1.6b)

Share digital compositions that meet specific guidelines (Cr3.2.T.Ia)

Identify the rhythm, pitch, and dynamics in a piece of music in order to use them in composition (Pr4.2.6b)

Students play simple melodies on an instrument that is new to them (keyboard or guitar). (Pr6.1.6a)

Discuss and exhibit correct audience participation (Pr6.1.6b)

Listen to a piece of music and discuss how it is relevant to specific purposes. (Re7.1.6a)

Listen to a piece of music and discuss how its expressive intent is achieved through musical elements. (Re8.1.T.Ia)

EVIDENCE OF LEARNING ● ● ●

Common Rhythmic Assessments Common Melodic Assessments Class and Whole School Performances

● ● ●

Pass Off Melody book -- Rick Bunting/B. Comstock-King Beginning guitar book “Suggestions for using Soundation with students.” https://www.learner.org/workshops/k5music/uploads/soundation-guidance.pdf Flat.io Soundation Studio Hal Leonard Guitar Method - Book 1

RESOURCES

● ● ●

UKULELE GRADES 7-8 DESCRIPTION Ukulele class is a trimester-long class that meets every other day for a full class period. Students are offered an introduction to ukulele through folk and popular music. Performing opportunities outside of class are offered but not required. Students play as a group within the class setting.

GRADE LEVEL EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How can I use my ukulele to create ideas? Performing – How to make music on your own using basic chords and melodies on the ukulele. Responding – How do we judge the quality of musical work(s) and performances? Connecting - How do musicians share their skills and knowledge? Expectations

Instructional Strategies

CREATING Find strums that best express the intent of the music being performed (Cr1.1.8a)

Watch other performers, play as a group/solo

Prepare a 2-chord song using best strums available and play for a recording. (Cr2.1.8b)

Group/solo playing

Prepare an instructional video or slideshow to teach a beginner how to play a 2-chord song. (Cr3.2.8a) PERFORMING Demonstrate basic chords needed to build harmony (C, Am, F, G, G7, D, D7, A7). (Pr6.1.8a)

Group/solo playing

Demonstrate the concepts of harmony (I-V, I-IV-V(7), I-vi-IV-V(7)) in multiple keys (C, G, D). (Pr6.1.8a)

Group playing

Independently rehearse and refine songs addressing identified performance challenges. (Pr5.1.8a)

Small group/solo rehearsal

Perform song with technical accuracy and musical expression. Model appropriate performance expression and audience etiquette for the venue and genre (Pr6.1.8a)

Group and solo performances in class.

Experience, identify and demonstrate expressive qualities such as dynamics, tempo and timbre (Pr5.1.8a)

Guided listening, group and solo playing

RESPONDING Explain, citing evidence, how specific music concepts are used in a piece of music and connect to its purpose and context (Re9.1.8a)

Guided listening, class discussion

Differentiate between different ukuleles and how they inform the context of the music. (Re9.1.8a)

Active listening

CONNECTING Demonstrate skills and personal experience by teaching others. (Cn10.0.8a)

Individual projects

EVIDENCE OF LEARNING

● ● ●

Chord assessments Strum assessments Teaching Project

● ● ● ●

The Ukulele Teacher Cynthia Lin song packs Miss Bernadette Teaches Music materials Play-along videos (YouTube)

RESOURCES

X - objective introduced > - continued work

PACING GUIDE

Grade Level Expectations – Grade 8 Ukulele

Weeks 1-4

C > Am chords

C > F chords

F > G chords

G7 Chord

G7 > C chord

C-Am-F-G(7) progression

C > Em chords

Weeks 9-13

G > Em chords (pinky) Basic strums (thumb)

Weeks 5-8

Basic strums (fingers)

Island strum

Chuck strum

Fingerpicking

X (adv.)

D chord

A7 chord

D7 chord

Barre chords

Create teaching demo project

HIGH SCHOOL GENERAL MUSIC OVERVIEW The general music offerings at Waterford High include: Music Theory, Jazz Improvisation, and Music Appreciation. These courses are designed to service all the students at Waterford High, whether they are music ensemble members, or are just interested in learning more about the many facets of music. Music Theory and Jazz Improvisation help students understand written and improvised music, while Music Appreciation serves as a music history and music culture experience.

HIGH SCHOOL MUSIC THEORY DESCRIPTION This half-year course is designed for the student to understand the fundamentals of written music and its analysis. Topics to include: properties of sound, basic notation, terms, symbols, rhythms, meter, scales, key signatures, intervals, and chords (triads). Students will be able to identify and analyze these topics in a piece of music. Students will also be able to write music using the elements in these topics. The course is open to all students that want to deepen their understanding of music.

NATIONAL CORE STANDARDS CREATING

ANCHOR STANDARD 1: Generate and conceptualize artistic ideas and work. IMAGINE Generate musical ideas for various purposes and contexts. Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources. Essential Question(s): How do musicians generate creative ideas? Music Theory High School Cr1.1.C.Ia Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or storylines.

Music Theory High School Cr2.1.C.Ib Identify and describe the development of sounds or short musical ideas in drafts of music within simple forms (such as one-part, cyclical, or binary).

Music Theory High School Cr3.1.C.Ia Identify, describe, and apply assess and refine the technical and expressive aspects of evolving drafts leading to final versions. PRESENT Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication. Essential Question(s): When is creative work ready to share?

Music Theory High School Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.

PERFORMING

ANCHOR STANDARD 4: Select, analyze, and interpret artistic work for presentation. Analyze the structure and context of varied musical works and their implications for performance. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance. Essential Question(s): How does understanding the structure and context of musical works inform performance? Music Theory High School Pr4.2.C.Ia Analyze how the elements of music (including form) of selected works relate to style and mood, and explain the implications for rehearsal or performance. RESPONDING

ANCHOR STANDARD 7: Perceive and analyze artistic work Analyze how the structure and context of varied musical works inform the response. Enduring Understanding: Response to music is informed by analyzing context (social, cultural and historical) and how creators and performers manipulate the elements of music. Essential Question(s): How does understanding the structure and context of the music influence a response? Music Theory High School Re7.2.C.Ia Analyze aurally the elements of music (including form) of musical works, relating them to style, mood, and context, and describe how the analysis provides models for personal growth as composer, performer, and/or, listener.

ANCHOR STANDARD 8: Interpret intent and meaning in artistic work. EVALUATE: Support evaluations of musical works and performances based on analysis, interpretation, and established criteria. Enduring Understanding: The personal evaluation of musical works and performances is informed by analysis, interpretation, and established criteria. Essential Question(s): How do we judge the quality of musical work(s) and performance(s)? Music Theory High School Re9.1.C.Ia Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating understanding of fundamentals of music theory. 72

CONNECTING Connecting is embedded into Creating, Performing, and Responding in the musical arts.

ANCHOR STANDARD 10: Synthesize and relate knowledge and personal experiences to make art.

Music Theory High School Cn10.0.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

EXPECTATIONS & INSTRUCTIONAL STRATEGIES Essential Questions: Creating – How do musicians create, express, and improve? When are they ready to share? Performing – How does understanding music inform performance? Responding – How does understanding the structure and context of the music influence a judgmental response? Connecting – How do musicians make meaningful connections to creating, performing, and responding? Expectations

Instructional Strategies

CREATING (A1, A2, A3, A5, S1) Listen to musical excerpts and describe how composers uses sounds and short musical ideas to represent personal experiences, moods, visual images, and/or storylines. (Cr1.1.C.Ia) Listen to musical excerpts and identify and describe the development of sounds or short musical ideas. (Cr2.1.C.Ib) Given a list of musical terminology and criteria to assess music, identify, and describe, the technical and expressive aspects. (Cr3.1.C.Ia) Provide the class with an example of music that the composer/performer used to employ expressive elements. (Cr3.2.C.Ia)

Large group demonstrations Questioning Individual feedback Whole class discussion Visuals/handouts PowerPoint presentations Individual and group critiques Video/Web

PERFORMING (A1, A2, A3, A4) Analyze a musical excerpt and describe how the composer used music elements to relate style and mood, and explain the implications for rehearsal or performance. (Pr4.2.C.Ia)

Teacher Modeling Visuals/handouts Aural performance Whole class discussion Individual feedback Questioning

RESPONDING (A1, A2, A3, A4, S1, S2) Critically listen to a music selection and explain how the composer used music elements to create drama, and describe how this analysis will help Visuals/handouts Aural performance in growth for the performer and listener. (Re7.2.C.Ia) Whole class discussion Critically listen to a music selection and describe the effectiveness of Individual feedback the technical and expressive aspects of the performance, demonstrating Questioning understanding of fundamentals of music theory. (Re9.1.C.Ia)

CONNECTING (A1, A2, A3, A4, S1, S2) Whole class discussion Demonstrate how interests, knowledge, and skills relate to personal Individual feedback choices and intent when creating, performing, and responding to music. Questioning (Cn10.0.Ia) Teacher Modeling

EVIDENCE OF LEARNING ● ● ● ●

Common Performance Assessments (A1, A3, A5) Common Music Literacy Assessment (A1, A2, A5) Class critiques (A1, A4, S1, S2) Self-Evaluation (A3, A4, A5, S3)

● Peer Evaluation (A1, A2, S1, S2, S3, C2) ● Class Presentations (A1, A4, A5, S1, S3, C1) ● ● ● ●

RESOURCES

Fundamentals of Music: Opus 1, Schirmer Books Harvard Dictionary of Music, Harvard University Press Basic Materials in Music Theory: A Programmed Course, Prentice Hall Supplemental Manuscript Materials

PACING GUIDE X - objective introduced > - continued work 1st Quart er

2nd Quart er

Identify, analyze, and demonstrate the use of the following elements of music: properties of sound, basic notation, symbols, terminology, and rhythms. (Pr4.2.C.Ia, Cr3.1.C.Ia)

Participate in group discussions to establish class criteria for critiquing performances. (Cr1.1.C.Ia, Cr2.1.C.Ib)

Analyze aural examples of a varied repertoire of music representing diverse genres and cultures, by describing the uses of elements of music and expressive devices. (Cr3.2.C.Ia, Cr2.1.C.Ib)

Use standard and other notational systems to record musical ideas and the musical ideas of others. (Pr4.2.C.Ia)

Expectations

Identify and explain compositional devices and techniques used to provide unity and variety and drama in a musical work. (Re7.2.C.Ia, Re9.1.C.Ia)

Identify, analyze, and demonstrate the use of the following elements of music: scales, time signatures, key signatures, intervals, and triads. (Pr4.2.C.Ia, Cr3.1.C.Ia)

Decode, discuss, and communicate how the elements of music are used in an instrumental or vocal score. (Pr4.2.C.Ia)

Communicate orally and in writing, how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. (Cn10.0.Ia)

MUSIC THEORY ASSESSMENT Identify the root, quality, and inversion of each chord (no need to label non-harmonic tones).

HIGH SCHOOL JAZZ IMPROVISATION DESCRIPTION This half-year course is designed for the student to understand the fundamentals of the jazz solo through performance and composition. This course will also include the history of jazz improvisation, famous jazz soloists, current trends, and the understanding of jazz notation. The course is open to all instrumentalists that play a melodic instrument (no drummers). This course may be taken multiple times. Knowledge of basic music theory is highly recommended as a prerequisite.

NATIONAL CORE STANDARDS CREATING

ANCHOR STANDARD 1: Generate and conceptualize artistic ideas and work. IMAGINE Generate musical ideas for various purposes and contexts. Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources. Essential Question(s): How do musicians generate creative ideas? Jazz Improvisation High School Cr1.1.C.Ia Describe how sounds and short musical ideas can be used to represent personal experiences, moods, visual images, and/or storylines.

Jazz Improvisation High School Cr3.1.C.Ia Identify, describe, and apply assess and refine the technical and expressive aspects of evolving drafts leading to final versions. PRESENT Share creative musical work that conveys intent, demonstrates craftsmanship, and exhibits originality. Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication. Essential Question(s): When is creative work ready to share?

Jazz Improvisation High School Cr3.2.C.Ia Share music through the use of notation, performance, or technology, and demonstrate how the elements of music have been employed to realize expressive intent.

PERFORMING

Jazz Improvisation High School Pr4.1.E.IIa Develop and apply criteria to select a varied repertoire to study and perform based on an understanding of theoretical and structural characteristics and expressive challenges in the music, the technical skill of the individual or ensemble, and the purpose and context of the performance.

ANALYZE Analyze the structure and context of varied musical works and their implications for performance. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance. Essential Question(s): How does understanding the structure and context of musical works inform performance? 78

Jazz Improvisation High School Pr4.2.E.IIa Document and demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works may impact and inform prepared and improvised performances.

INTERPRET Develop personal interpretations that consider creators’ intent. Enduring Understanding: Performers make interpretive decisions based on their understanding of context and expressive intent. Essential Question(s): How do performers interpret musical works? Jazz Improvisation High School Pr4.3.E.IIa Demonstrate how understanding the style, genre, and context of a varied repertoire of music influences prepared and improvised performances as well as performers’ technical skill to connect with the audience.

ANCHOR STANDARD 5: Develop and refine artistic techniques and work for presentation. REHEARSE, EVALUATE AND REFINE Enduring Understanding: : To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through openness to new ideas, persistence, and the application of appropriate criteria. Essential Question(s): How do musicians improve the quality of their performance? Jazz Improvisation High School Pr5.3.E.IIa Develop and apply appropriate rehearsal strategies to address individual and ensemble challenges in a varied repertoire of music, and evaluate their success.

ANCHOR STANDARD 6: Convey meaning through the presentation of artistic work. PRESENT Perform expressively, with appropriate interpretation and technical accuracy, and in a manner appropriate to the audience and context Enduring Understanding: Musicians judge performance based on criteria that vary across time, place, and cultures. The context and how a work is presented influence the audience response. Essential Question(s): When is a performance judged ready to present? How do context and the manner in which musical work is presented influence audience response? 79

Jazz Improvisation High School Pr6.1.E.IIa Demonstrate mastery of the technical demands and an understanding of expressive qualities of the music in prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres, and historical periods.

Pr6.1.E.IIb Demonstrate an understanding of intent as a means for connecting with an audience through prepared and improvised performances. RESPONDING

Jazz Improvisation High School Re7.2.C.Ia Analyze aurally the elements of music (including form) of musical works, relating them to style, mood, and context, and describe how the analysis provides models for personal growth as composer, performer, and/or listener.

Jazz Improvisation High School Re9.1.C.Ia Describe the effectiveness of the technical and expressive aspects of selected music and performances, demonstrating understanding of fundamentals of music theory.

CONNECTING Connecting is embedded into Creating, Performing, and Responding in the musical arts.

ANCHOR STANDARD 10: Synthesize and relate knowledge and personal experiences to make art.

Jazz Improvisation High School Cn10.0.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music.

Instructional Strategies

Large group demonstrations Questioning Individual feedback Whole class discussion Visuals/handouts PowerPoint presentations Individual and group critiques Video/Web

PERFORMING (A1, A2, A3, A4) Develop and apply criteria to select a varied repertoire to study and perform based on an understanding of theoretical and structural characteristics and expressive challenges in the music, the technical skill of the individual or ensemble, and the purpose and context of the performance. (Pr4.1.E.IIa) Document and demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works may impact and inform prepared and improvised performances. (Pr4.2.E.IIa) Demonstrate how understanding the style, genre, and context of a varied repertoire of music influences prepared and improvised performances as well as performers’ technical skill to connect with the audience. (Pr4.3.E.IIa) Develop and apply appropriate rehearsal strategies to address individual and ensemble challenges in a varied repertoire of music, and evaluate their success. (Pr5.3.E.IIa)

Visuals/handouts Aural performance Whole class discussion Individual feedback Questioning Teacher Modeling Student Modeling

Demonstrate mastery of the technical demands and an understanding of expressive qualities of the music in prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres, and historical periods. (Pr6.1.E.IIa) Demonstrate an understanding of intent as a means for connecting with an audience through prepared and improvised performances. (Pr6.1.E.IIb) 82

RESPONDING (A1, A2, A3, A4, S1, S2) Critically listen to a music selection and explain how the composer used music elements to create drama, and describe how this analysis will help in growth for the performer and listener. (Re7.2.C.Ia) Critically listen to a music selection and describe the effectiveness of the technical and expressive aspects of the performance, demonstrating understanding of fundamentals of music theory. (Re9.1.C.Ia)

Visuals/handouts Aural performance Whole class discussion Individual feedback Questioning

CONNECTING (A1, A2, A3, A4, S1, S2) Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. (Cn10.0.Ia)

Whole class discussion Individual feedback Questioning Teacher Modeling

EVIDENCE OF LEARNING ● ● ● ●

Common Performance Assessments (A1, A3, A5) Common Music Literacy Assessment (A1, A2, A5) Class critiques (A1, A4, S1, S2) Self-Evaluation (A3, A4, A5, S3)

● Peer Evaluation (A1, A2, S1, S2, S3, C2) ● Class Presentations (A1, A4, A5, S1, S3, C1)

● ● ● ●

RESOURCES

A New Approach to Jazz Improvisation, Jamey Aebersold, Jamey Aebersold Jazz, Inc. The Jazz Theory Book, Mark Levine, Sher Music Co. Fundamentals of Music: Opus 1, Schirmer Books Supplemental Manuscript Materials

PACING GUIDE X - objective introduced > - continued work Expectations

1st Quarter

2nd Quarter